Studio Lighting - The Power of Control

Lesson 20 of 30

Shoot: Lighting on Commercial Product

Studio Lighting - The Power of Control

Lesson 20 of 30

Shoot: Lighting on Commercial Product

Lesson Info

Shoot: Lighting on Commercial Product

We're going to shoot this on black plexiglass and one thing I will tell you by the way was these that little fan if somebody was going to say that we have it all perfect okay so before we start feeling that we want that fan to be on and upon the table maybe we're going to a little piece of plexiglass and as my friend collins used to say if you look in the dictionary the word plexiglass is defined as one what will scratch plexiglass scratches really easily it also gathers dust because of the static so any time you're going to do something like this to things to be aware of don't spray anything on the plexiglass and wipe it there is all sorts of plastic cleaner acrylic cleaners there's part a part b they're soft cloth they have all kinds of stuff don't use any of them I just don't feel this paper backing until you're ready to use the set and when you peel it put a little bit of a fancy this little family got here it doesn't have to blow hard it just has to move air around a little bit li...

ke tip down just a tiny bit so it just needs to move air around so that was just because of the static nature this as dust comes in the land like this bring the shit'll get him but the fan and blow away instead of landing on your plexiglass makes sense way to keep the dust off plexiglass that's the number one rule and then the number two rule is don't scratch it because this crisis really easy but what's great about it is old my gosh when we get some pictures utilizing black plexiglass it really works well so you just lower that down that's great that's great! Okay, so there are two the plexiglass comes in one night, one corner three, eight, five eighths and it's very expensive so when you start to use it, be sure that you peel the paper backing its own both sides on ly peel the paper paper backing on one side if you're just gonna use one service, save the backside for next year after you scratch up this one this year so let's, go ahead and feel that paper and we can go ahead and uh well in my I think we could probably bring a life back up if you needed to I think we could fight right back up and be real careful but about touching and you don't want to touch the flexi glass fingerprints finger france they're all awful tony, why you're getting that that ready how do you store it up right behind of something that doesn't get hurt? I mean carefully put in the clubs and standing up on a stick in the corner somewhere with nothing hitting it you know there's not a magic way to do this by the way this feeling part you just have to kind of go through the just kind of have to go through it you want help sure grab a corner and start feeling real slowly and try not to touch it and they just kind of rolls back and while they're doing that um I'm gonna take a look at this profit we're gonna use I'm gonna take a look at this watch and then john also remember I'm going to need and maybe caven I need a piece of cardboard our paper that's black that's probably going to end up being wake could well I don't think sinful would work a cz well in my pickup well that michael charlie would have liked it might weaken try it but we need a little piece of kind of square looking let me grab our prop our profits is this watch over here and so here's our crop is this black watch which is a it's a really highly polished black watch with a metal band on a black face it's the hardest thing there is photograph and that's why I wanted to do it so if we can photograph this than everything else is pretty easy you know so that's the idea is to work on this so what do you think, students? What do you think is the number one contrast apartment number one contrast producer with a shiny black watch sorry it's all about the highlight. Ok, so yes. So let's just angle this guy this way a little bit like right there there's already a hair on it. You see that you could blow on it, but be careful when you blow that you don't spit spit will put you out of business no spitting, no spitting allowed some have set this watch just right in here like that. Can I need I need a bigger watt of black tape that I can make a big bigger than that, like like that? Like that I did. Maybe after that might do it. Let me just do this. What I'm doing, folks is I'm just trying to make a little widget here that I can put underneath the watch to set it up a little bit tired from the back from the back side like that get the idea. There we go. There we go. There we go. Okay, so this is looking pretty good so I can already tell my shot is going to be taken from probably right about this position somewhere right in here and the position of this life is perfect, but john, I think here's what we're going to have to do, you're going to kill me, but I think we're gonna have to take off oh, maybe this maybe this will be perfect never mind you know what I said? Never mind this's great. By the way does anybody know what time I watched should be set for photographs has anybody ever photographed a watch ten, ten, ten eleven ten, twelve that's it I don't know why that kind of came about but the proper time for watch chute is ten ten ten champion needs an eleventh and twelve you can always see the logo unless you've got a logo that is really big across the top and then you do the upton put the hands down so in this case in this case I've got it stopped at about ten nine and the second hand at about ten eleven and it works and it looks beautiful so I think it's going to be a great shoot let me get this out the way I'm I am not going to use this even a little bit so this guy can go away in fact let me unplug that didn't go under that cord ok? One of the one of the not a problem but one of the issues when you're trying to do multiple things really fast like this you stumble a little bit so you know forgive my stumble miss but let's take a look at this so think about this this is all about the highlight so here's the idea the black plexiglass is just giving me an amazing surface on which to work and by walking right up here and just stepping up where I'm going to shoot from right there, my life source my surface, my black plexiglass is a reflection of that fabric. That's what I'm seeing is a reflection of that fabric, so from right here, I'm blocking out everything else, and all I'm seeing is that and boy, does it look cool now I'm seeing a little bit of the ripples in the surface of the fabric. You see that depending on what I shoot at that's either and look really bad or it could be looking really cool think about if that were slightly out of focus, those could look like what we used to call wispy dues this little motion little little wispy dues, little wispy things that's what we used to say it brooks institute you need a wispy do so let's, take a look here to see how close we're getting and if this land is my right choice, okay, well, clearly I think this lands is looking all ready to be the right choice. Oh, yeah, this is don't look good, you guys. I don't want to scoot it just a little bit. Give me a little bit more space in the middle of my light source. You try it and see if we can narrow up that take a little bit more narrow. Ugo can't let stick out on the sides. Tony delana in port orchard is wondering if you ever wear white gloves when handling the plexi glass and rationing items that the answer is absolutely and, in fact, you know, it's funny, we we did a little research on european photographers one year, and we found that the german meisters, the german master jewelry photographers go toe work wearing black clothing and black gloves. So during shoots like this, they would use hot lights and a but ten view cameras and during and use long exposures of ten, fifteen, twenty seconds and during the exposures they would reach their hands in and burn in dodge during the exposure and get these remarkable pictures. And we think we're good over here. We got nothing on those germans. Those guys can take a picture that you raise a really cool, really cool. Okay, so let's, get a reading and let's get a starting point on our exposure, and here again, our exposure is based on our highlight five, six and a half. So let's uh let's see if we can get you five six and a half this is looking this is looking awfully good if you want more than that are you okay? I would like let me let me let me shoot it at that okay by going five, six and a half you guys and for those of you that are paying attention by shooting at five, six and a half I conglomerate those wrinkles in the fabric out of focus and still hold focus on the watch ok, that makes sense so that's what I'm going to attempt to do here so and because I'm smarter than average bear I'm going to get rid of the two second exposure from the last picture like balance yeah why balance is going to be because we change that to the last picture we are yeah thanks some goto one twenty five and I'm gonna I'll just hit a six, three, five, six and a third right there and my white balance sorry, sorry, sorry uh I'm gonna go back today light on my white balance ok, let's see what our first pop has in mind in store for us first top looks pretty darn good except that we've lost the face completely but here's what's fun about that I did that on purpose and I'll show you why in just a second to get the highlight to get the life source to be a design element in this picture I needed that light to be needed to shoot into that plexiglass from this angle so that I can see the reflection of the soft box as my life source it's a spellman perfect speculator angle but I'm losing the face of the watch so here's what I'm going to do because now this is all speculative light right speculum meaning mirrored image so what I need to do is create a speculator little gobo that I can put right on the front of that soft box that is the same shape as the face of the watch and I'm just going to tape a piece of black something that's going to be way too big it's going to be probably a quarter of that size so I'm just gonna take a little piece of black something an interruption so you're rid of the reflection on the face everybody got that that makes sense russell we good indeed we are you falling this following? I think it's fascinating. Yes. So this this is going to come together pretty nicely and I'm not going to try to get it to perfect but I do want it tio yes so what he's going to have to do is he's going to have to just move it around until I can see it in my camera so you need that you're gonna need to go down down down down down down down now come back up and I'll tell you went up a little bit more little bit more and I'll come to you and then they come up a little bit higher a little bit more you're almost there you're almost there a little bit more a little bit more a little bit more a little bit more a little more stop right little tiny go tied it more stop right there for just a second and let's just give them thursday when that happens close close you know what I'll tell you what we're gonna do we're gonna make this easy on everybody in just a second here I think we're going to do something with a little bit differently okay but I could sort of hold their use my arms gonna be in there yeah so I'm going to see one with his arm inside just to show you what what we're talking about is you'll see that the gobo is now starting to let the logo come through you see how that works so so basically I think what I'd like to do if we can can we cut something round I just need something circular and black sorry that I didn't throw this at you beforehand but you know I'm a go I'm helping um that big that surround it listen you know what would even work would be um like a folded up reflector maybe no no because I could see that in the reflection um if we had if we had let me just think you know we'll be perfect would be um in the kitchen is there a paper plate giving paper plates paper plates give me three or four so light can come through them like four ply three or four apply so their thick oh that's awesome. Ok, so let's talk about this for a second let me tell you why this came about so the singer kenny rogers did a private workshop with dean collins one year in los angeles and as a gift he sent in dean uh uh cd player and it was the first of its kind I mean, this was nineteen, eighty six not everybody had a cd player quite yet so everybody in the studio was pretty jazz that we got this new music player in the studio. Kevin one of our assistants took that thing and did a sort of a beauty shot with it that last night the night when we got it we all left in my home but kevin stated do this shot and what he identified is that he wanted the front of that cd player to have this beautiful soft frosted highlight like that well, like the previous shot all the way across that front of that cd player but we lost the little led window with the numbers and he figured out that if we could create a speculative gobo and he's got a piece of gaffer's tape and put it right over that and it worked beautifully, put it right on the light source and it beautifully got rid of it, so it worked before we go to the trouble of putting that up there, I think it's going to work fine, but real quickly just make me a piece of gaffer's tape that's three inches long and let's just take a look at this as I'm talking about this, I'm thinking get for state might be the answer for this and we'll try this I need you to do it because I got a watch I gotta look, why you why you perform ok come up toward me and oh, you know what? I think this happened here let's do let's do exactly what you were about to do but let's make our strip about that long sorry, the face isn't flat it's kind of rounded and so I'm getting part see that highlight where the fossil shows, but I've got the rest of it it's because the vessel is calm cave a little bit so while this seems like we're fumbling and japan but this is a real big learning experience of that, if that if that crystal were flat, this has been done but it's curved so that's what we gotta count for the curve so let's just try john I need you to move it around so I can just see um ok so now tony we do have the plates available for you if you need them okay great moving right come back back back back back back you're getting pretty close right in there that's getting pretty close but it's getting pretty close, right no we went past yeah it's not perfect. Okay, let's try the plate was traveling let's try it let's try it oh, this is this is good right here this is good. You want to just hold that up there and move it around a little bit and see what happens everybody's like this core bell guys just lost it he's lost it completely okay, so now moving down, down, down, down, down and that toward you and back you need to hold it right against the surface and I'll come straight to me right there. Dan dan! Dan! Dan! Dan right well, right there is not what I had in mind, but it looks pretty pretty cool, so just hold what you got there for justice and let's see if we can pull this off by doing this like this maybe someone with a long arm for the others like oh, we don't want arms in there though no doubt get the tape onto it you reach it yeah so let's do it this way and let's just put around the rim and before you stick in the mean look one more time you have great you want to come from that so you can they're buying homes going okay we're going to go watch you know oprah and what's going to be fun is because of the nature of this it's going it's going to knock it off of the face some but it's also going to give me a nice out of focus circular design elements in the foreground as it's reflected into the light source just a second I'll tell you where actually you know what john that's not too bad right there hang on one second but mikey's if we can get this on here we can always move the light side yeah that's not bad right there john yeah I'd rather leave it on the outside I think yeah. Okay, okay let's try that anything look it's ok there's there were multiple plates yeah that's fine that's getting us pretty close but you guys e I mean, look, we're yeah that's what I'm going to do now is so let me just start from that up a little bit they're good so here's the thing just think about what think about what we're doing here look at this little circle of clearness get the idea we could we could spend a lot of time on we can keep perfecting this and and finding it over and over and over and over. But the bottom line here is speculative light control on little products is is an outstanding way to work. It really works. Well, does anybody have let me then they do a couple more things here real quick with this. Tony, I had a question for you. Yeah, if we had this global on like a little wire and it was closer to the object being photographed would get, like, a sharper edge but might also be able to cover a bigger area. Yeah, we could try that. Yeah, that that might bigger than my big moment. Just just take it and share your running. We're here. Yeah, that might be a good idea. Try. I've never tried it that way, but, you know, thinking about it probably worked. I think that there's a lot of those kind of little things that you'll learn as you start trying to do these kind of things, you know, there's so much there's, so much discovery with reflecting its value and that's what I love so much about working with the working with the plexiglass because there's things that you can do it, you can't do any other way one thing that I do want to try to do here before we wrap for the day is only I want to put color in this plexiglass as a backdrop and like the product separately from the background and the way to do that. It's it's kind of a similar technique, but we're going to do it by reflecting the color into we're gonna bounce color into the brick wall. Then I'm gonna look and see the reflection of the brick wall and have that the color that we choose, which I think will be a bright red so make it kind of sexy looking, but yes, so you can see that I mean, we can make this bigger. We can make the plate bigger. We could make the circle bigger. We could put two little small circles and have him they basically can become design elements force um but yeah. So it's a it's a pretty neat technique. Let's pull that off for just a second and I want to shoot some straight down with it with it showing like this and can I get that? But just yeah, let me put a little just a little lot of tape. That one right there. Yeah, let me just make that just a little thicker and I know this is kind of tedious and and kind of boring to some of you but it's still life is it's tedious there we go so it was it was just that one link was going down in a hole it was kind of making me crazy so and then just for fun if a lot of people say what your exposures off well here it is if I if I darkened exposure that's one stop and that's two stops and you can start to see that you know it might be what you want but now I'm starting to get my wrinkles in the background see how that's coming because now my depth of focus is a cumulative and going up hitting and getting that which is fine I'm not too too concerned about that. Some people aren't concerned about that at all but you just do what I want to see you and of course my hands in there again but move your head move it down down down right there don't move go down a little bit further in fact that way john sorry now come back up you missed it, nobody moves, nobody moves well now students to do because I'm way down and remember so let me open that back up due to here we go anyway you get the idea, you can start mucking around with it and you can get some real fun fun effects and so even that right there is a good starting place for a foundation of an exposure and you could start building on it from that. Um, I do want to do a couple of things here real quick before we run out of time, I want take that I want to leave the watch and leave the plexiglass up, but I want to see it. Um let me look in that box that the watch came in there's a little square box and it should be over there somewhere. Cable ok, he's got a season she's on it she's on the case no it's, just a little square metal box. What we want to do with it if we can find could be in my bag but I'm not sure is it on the table that had all the other problems? What I want to do is put up and yeah, there you go. So inside there, see if there's a watch holder I thought there was a little band holder thing and if there isn't, we might want to use that cardboard pretty ugly never mind that's ugly. I didn't see it. Ok, so that's not what we want to do don't wanna bring this light around and uses toe front light the watch, ok and so, let's, just bring it around that side. Thank you. You take the weight off, you get this mrs rolling around the side. We're just going to and we're all the way around the side here, and we're gonna keep the fan going, and I kind of like that one hit the camera with your good right about there. And so what I want to do is use this light back here to read jill red jail and wanted to get this guy. So, like my background up and what's interesting here is if I want to read that ground behind a product, and if I shoot my product on a red surface, I have a problem. What do you think that is? The red is going to reflect on all my shadows. I'm not going to get a good truth teller, my product, because it's going to be bouncing, read back in, ok? Yes, you're good, I'm telling you, you're good, hey, diggers did so you've got to be careful about how you deal with color on products photography, because you can't contaminate the product with color. Well, one thing that we figured out years and years ago, which is kind of a cool technique is that we could weigh could utilize the benefit of the black plexiglass as a reflect, its background. We're gonna need to bring that around here too like the front of the this thing going to get this under way for second is come on around get between me and the camera this coming you can you can move them to get this out of your way because you're I know you're worried about that yeah, now you're getting close now you're getting close right in there is looking pretty good looking real good you guys see all this dust that just landed it just landed yeah rats that's ok, we got spot healing brush way just don't like it move it back just a little sore right there I've got this nice highlight on the watch. Okay, so is there any way? Uh jenna, if you're still here, is there any way that we could once again just for the sake of the background is over this one life if we can, that would be helpful. Great, great, great, great, great. So let's, get a reading on the product here first eight and a third. Okay, what are you seeing? Um I'll tell you in just a second where you're where to go look right here higher it's going to weigh high, you're out there to eat almost two and a half okay, so we're gonna maybe top that up a little bit brighter and again, the watch was how much a third this is for a half here and watch again ok, ok, so all I want to do is raise that c stand up a good a good foot and a half maybe because if this angle you guys, my background is up there that's what I'm seeing is a background go ahead name and they're pretty high and in fact go ahead and get pretty close with it if you want I think you're gonna be okay like right in there like that and let's take a quick ten shot and see what's happening here. This is pretty sexy and we're getting close. We're not there yet, but we're getting close to see how that works. So as we start mucking around with reflect its values here, I think we need to raise that light even higher by another foot at least another foot and what that's going to do is extend that red all the way down to the foreground, you get the idea a little bit more that's it that's it that's it now we're starting now we're starting to get closer to a picture here, okay? So so the all the little density changes that you're santer of the brics wakened take care of that I do want to do a couple of things here um I want to go ahead and fear stand over there can you bring me a white a white board on the right side of the set even the even the translucent will work here's the thing folks when you get to a level like this anything that shiny and metallic any time it doesn't see something it goes to black so even with no light on this just the mere fact that it's around that black will see it so I'm gonna bring this around on this side of setting thank you want to hold this up one of the guys bring this guy and I'll place it I'll tell you where to place it come on over and come on over and right there and don't move don't move don't move don't move don't move now watch that highlight popped up on that right side are not well I can sure see it in here move it out again and ok so we do need a panel then what's the other way probably why yeah the white board there yeah the white board will do little but thanks anyway let's try that in fact why don't you bring it right really close brain right there and tip it over kind of like kind of like that right there you got it now let go for a second okay, here we go. Good you guys get the idea you can start slowly building this thing into anything you want. However you want to build it uh it's a slow process and when we don't have you know quite the amount of time to spend on each individual element of it but you can see that there's there's some elements here that can work I would like to try powering this power is this that right here on this one right here? This one is at one point oh, so it's all the way at lowest power tony good information good if I could get for cayenne who says so? The red is coming on lee from the wall correct? Correct the light is being uh aimed at the wall and then bounced down correct so and that is you know, think about this being, uh any product that sits on that plexiglass there's a danger of color being bounced into the shadows or into the product except for when I bounced the color so I'm reflecting the color and from here what was her name? Sorry giant. So for more I'm standing client I'm standing here and I'm looking straight down at the table and I'm looking at a reflection of the top of that wall way up there that's what I'm seeing from here looking in the table so that's my background is way up there in fact I could even go higher with that yeah, plexiglass is a mirror is that what I go any higher? Yeah and so yes oh it's what's fun about it is let me try to get a little more color here you know what we're seeing that there's stuff it's starting to happen that's just you know uh I'm gonna do take this power like three stops like way up ok and I'm gonna go up here three stops here and and if you can pull that one down and go up three stops with it sorry I just want that that those lines are making me crazy and I don't think that's the brick on what it is just making things that might be just banding that's what I'm thinking screen yeah so could be so I'm just gonna say thank you read of a bike going plus three on everything I could only go up one and a half more ok that's all right so it's gonna be every new dark red but those eyes you can go with that light stand there you go there you go there you go there you go let's fire one and just see what happens yes so the great is gonna be plus quite a bit darker so I'll go down a little bit here one two ok, so down to minus two and I'll dump that yeah there you go then let's try that again okay um you know when you get into the studio and you start doing these things you start really starting to understand well relative values and you can start to see things that start coming to life and start start really happening and it does give you the ability to do some pretty fun things in the real world. If this were the commercial shoot for fossil, clearly I would get rid of the little black fabric that jenna gamey and we would use the hand holder and we would do all this the right way, but this is an all day shoot and then we would charge this as an all day sort of a day rate. I think what happens is thanks, jonathan I think we're good. I think we can probably turn that light back on. I think what happens is, you know, when you when you when you get out of a job, you've got to make sure that you are allowed the opportunity to do the best job that you can for your client and I think that's something that's that's pretty important to me just set this down. I think it's pretty important to be able to do a good job for your plan and so sometimes when you're when you're working in the studio you will you cut yourself short and I hate when that happens and it's happened to me several times if you guys need to bring that light back up on me, you can do it that's fine I know that I've done catalog seats where I just lost money because I got in there spent too much time I did an ice cream shoot one time and working with ice cream is just not good it's just it's horrible and I'm not I wasn't much of a food shooter I didn't have a food stylist I didn't have a lot of things that I needed with me to be able to do a good job you know and uh and I lost money but I learned so much that the next time around I gave him a bid that was fairly high but I was able to do the job in a quarter of the time so you know it all comes down to how much do you know how fat can you function in a situation where you've got you've got to be able to work with a client standing next to going no no no the lettuce doesn't look right okay let's make the lettuce look right it's a little bit different thing going out and shooting travel pictures in cuba you know? So you guys have any questions over there you won't talk about we definitely we sure did it from donald hugh way two questions tony, would you ever use a polarizing filter to get rid of the reflections in the watch and we don't question earlier about whether you use nd filters so first off I I'm not a fan of polarizing filters I may become more of a fan now that we have our high speed I esos but for years my my frustration was losing a stop and a half with especially with a circuit you know, circular polarizing filter we always lose stop in half and then that always bugging me to lose that well I think we maybe have countered that now more importantly to me though is the idea and there's a lot of people that fight me on this and argue with me on this I've never been much of a filter guy in any way I don't like you the sky filters or hace filters or any kind of filters because I always felt that they gave me two more surfaces where possibilities of stray light could cause the trouble and and I just saw I've always stayed away from filters of all types uh so that's the first thing in the second part of the question was uh we answered it kind of indian children and andy so yes so the indy neutral density filters I don't like to use ever but I do like neutral density gels so I'll use indy jails on my lights if I can't get my life's powered down as low as I want you might be in a studio situation where you want to shoot it to eight and your lights will not let you shoot it to eight your lifestyle and let you go down to five six well then put two stops of neutral density gels and you can take right over your lights they come in those little sample packs just like this color jails so they're indy jails and they come in different incidents I will tell you that I'm intrigued I'm really intrigued by ten stop neutral dnc filters and I'm watching I'm much in a great friend of mine who's doing some work in japan right now and he's sending pictures up to his facebook page and I'm flipping out on these pictures I'm seeing where his exposures are, you know, fifteen, twenty minutes of water and it's just, you know, here's this here's this bad luck and river that at a twenty minute exposure is this incredible ribbon of cotton candy that's going down through the woods it's exceptional, and you can only do that with a ten stop indy that lengthens that exposure out over twenty minutes, and I just need to clarify a little bit that nd filter question came when you were doing the light painting, so when you were working with that product and you were so it kind of came got you? Yes, so I'm not sure that I'm not sure that really has a lot of bearing will have much bearing for me anyway, okay, um for me the light painting on especially what we did with the flashlight, you know that that like on the purse yesterday those kind of those kind of moments from here just great those air just fun and and you do get to show off a little bit in front of a client and you get to show somebody something they've never seen before and that's kind of like uh you know, I did that I do a lot of airplanes are used to do a lot of airplanes at night and I would paint airplanes with light and uh and I would do it not with a continuous line but with speed lights are strokes that use quantum cube slices or whatever it might be looming signs you go out there and you you know, you take a meter reading with the flash hitting the meter at fifteen feet away and let's say the flash reads f eight okay, well, if it gives you is one pop but I need f sixteen toehold sharpness all over the plane. So what that means is why the lenses opening bitch dark I've got to pop that flash one time for faa two times ref eleven, four times for f sixteen and then I'll move down you've beaten poppet four more times for f sixteen and moved on to a few more feet poppet four more times for a sixteen so all of these things sound like they're tricky and they're cute sea and they're fun but they also can make you a lot of money you know if done right and if you practice some of these techniques they will make you some money for sure we love it but the yeah on this particular product shoot um you could spend a lot of time and be late for dinner because you're trying to send it up would you consider doing two exposures one for the band won for the dial and then doing a compass it I would I mean to be real honest it does come down to a sense of economics at some point at some point I can go in and say ok, I can flix that with three clicks then I'm going to fix it with three clicks I'm not going to spend four hours to save me three clicks so yeah, it does become a new element of your you have toe understand your photo shop skills and when to bring him out you know, so sure I'm going to do the right thing on that I just I just don't want to fix problems but if I can save something like that and yeah, I'll do that it's kind of like, you know, one of the things that I know that architectural guys were doing used to when you shot a architectural job the problem was uh color temperature outside the windows never matched the color temperature inside the house so so people would would spend hours and hours rolling out gels and taken over the windows of a home so that when they got this thing they could get it all in one pop well now want you just shoot the interior of the home then change your cover bounce for whatever and and your exposure of whatever is going on outside the window shooted again and just clone in the window that just takes seconds to wipe that in there you know and do us a rubber stamp tool and just pop it right in our selection into a command jay and drag it over and drop it so however you needed to do it to function not just economic click but efficiently and for me it does become about being efficient you know, I think I think I think some people haven't ever heard this before but the word professional doesn't mean that you earn money professional comes from the word proficient so you're if you're proficient it's your craft uh you're professional you better be proficient at your craft you were paid to perform on demand you gotta you gotta pull it off, you can't not you can't miss in other words, so for me that's that's a big I just wanna missing and I've talked about that a lot

Class Description

Get ready to learn how the lighting secrets every sought-after photographer needs to know. Join creativeLIVE for an in-depth immersion into understanding and controlling in-studio light.

Taught by award-winning photographer Tony Corbell, you’ll explore how to work with a wide variety of lighting tools. Tony will explain how a photograph’s look and feel are influenced by the size, shape, and placement of its light source. You’ll learn about correct light metering techniques and the role logic and physics play in metering and working with light. Tony will cover basic, subtle lighting adjustments that transform photos. You’ll have a front-row seat as Tony applies his one-of-a-kind lighting techniques live in-studio as he shoots both portraits and still-life photos.

By the end of this course, you’ll have a new and improved skill set for working with light and achieving jaw-dropping results.

AJ Photography Ireland

Watching this Course from Ireland live, and at my leisure having purchased the course, I cannot praise Tony Corbell enough. I felt I was right there in the Classroom with him and gained so, so much from stunning course. He really does explain the techniques he uses so well and is one of the greatest Educators that I have seen in photography. Worth every Euro ( Dollar ) !.. Thank you Creative Live and Keep up the good work ! Andy Jay www.ajphotography.ie Cork Ireland.

a Creativelive Student

I had the wonderful privilege of joining Tony Corbell in studio for this course. My husband gave me the opportunity as my Christmas present. It was, without question or cliche, THE best Christmas present I have ever received. I went in to the course at Level 0, knowing nothing about studio lighting, and came out with a wealth of invaluable knowledge. Tony explained everything so well and showed how literally anyone can set up and shoot with studio lighting and get the outcome they want. If you are starting off like I was, with little to no knowledge of studio lighting, wanting to up your game and increase your photography skill, this is the course you should invest in. It has, hands down, changed everything for me.

Shoot2Thrill

A very comprehensive class in teaching the core fundamentals of studio photography. No bells and whistles approach, just good old honest education that will last you a lifetime. This class easily compliments all the high-glitz classes relating to fashion studio photography. A good investment for sure. Highly recommended! (Nobody moves, nobody gets hurt! Ain't that right Tony.)